IMRADIO widget

http://www.imradio.com/widget/im_widget.swf?user_id=9523

Why not grab this widget and post it in your emails, BLOGS website where ever your needing music or would like to spice up some of your website or your presence on the web, it is FREE and while your at it grab the ANDROID APP for your phone,
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Also visit the website and share the jams why not encourage some one today with their own song ASK ME how

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The music of Mark Allan Wolfe

Check out some great new music an also listen to some more music that is available at IMRADIO grab this widget for your blog or website it you need music.
Also give a listen to the new heavy guitar jam by MARK ALLAN WOLFE called “Lost in the SON” a heavy guitar rock song. The radio station has a bout 50-60 songs in a small variety of rock,pop and smooth jazz songs but all of them are great. If your interested in learning more about it then give us a shout.

If your an artist or a band looking for placement opportunity’s than also give a listen and or visit http://www.wolfiesmusicpublishing.com we are always looking to expand our data base of songs for FILM,TV and WEB advertisements.

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Some music samples for cues

I was working this morning searching for something and came across a websites which triggered my mind to post this sample song list of various song in stock at wolfie’s music publishing.com

Me and You soft rock / pop

On Time Electronic / Dance

Strike Force ROCK / Metal

A Child’s Prayer¬† Acoustic / New Age

Well I hope you enjoyed these few songs to get you going today and feel free to visit the sites to learn more about what we are doing, the music business and music for tv and film.

Mark Allan Wolfe

http://www.wolfiesmusicpublishing.com

Common Music Licensing terms

For those of us who need to be reminded of certain terms and for those of you who have never known but would like to know what certain terms are I thought it would be a great idea to post or re post this definitions of terms from <a href=”http://ASCAP.com”>ASCAP.com</a&gt; I am a member of this orginazation and I am very happy to be. So let’s dig in shall we…oh yes if you have any questions, thoughts or comments please feel free to share them with everyone they might be thinking the same thing.

<strong>ADI</strong>
ADI or Area of Dominant Influence is the geographic area or market reached by a radio or television station. It is used by advertisers and rating companies to determine the potential audience of a station.

<strong>Blanket License</strong>
“Blanket license” is a license which allows the music user to perform any or all of over 8.5 million songs in the ASCAP repertory as much or as little as they like. Licensees pay an annual fee for the license. The blanket license saves music users the paperwork, trouble and expense of finding and negotiating licenses with all of the copyright owners of the works that might be used during a year and helps prevent the user from even inadvertently infringing on the copyrights of ASCAP’s members and the many foreign writers whose music is licensed by ASCAP in the U.S. [see also Per Program License]
<strong>
Dramatic or Grand Rights or Dramatic Performances</strong>
ASCAP members do not grant ASCAP the right to license dramatic performances of their works. While the line between dramatic and non dramatic is not clear and depends on the facts, a dramatic performance usually involves using the work to tell a story or as part of a story or plot. Dramatic performances, among others, include:

(i) performance of an entire “dramatico-musical work.” For example a performance of the musical play Oklahoma would be a dramatic performance.

(ii) performance of one or more musical compositions from a “dramatico-musical work” accompanied by dialogue, pantomime, dance, stage action, or visual representation of the work from which the music is taken. For example a performance of “People Will Say We’re In Love” from Oklahoma with costumes, sets or props or dialogue from the show would be dramatic.

(iii) performance of one or more musical compositions as part of a story or plot, whether accompanied or unaccompanied by dialogue, pantomime, dance, stage action or visual representation. For example, incorporating a performance of “If I Loved You” into a story or plot would be a dramatic performance of the song.

(iv) performance of a concert version of a “dramatico-musical work.” For example, a performance of all the songs in Oklahoma even without costumes or sets would be a dramatic performances.

The term “dramatico-musical work” includes, but is not limited to, a musical comedy, opera, play with music, revue or ballet.

ASCAP has the right to license “non-dramatic” public performances of its members’ works – for example, recordings broadcast on radio, songs or background music performed as part of a movie or other television program, or live or recorded performances in a bar or restaurant.

Dramatic and grand rights are licensed by the composer or the publisher of the work.

<strong>Mechanical Rights</strong>
A mechanical right is the right to record and distribute (without visual images) a song on a phonorecord for private use. Mechanical rights or a mechanical license must be obtained in order to lawfully make and distribute records, CD’s and tapes. Recording rights for most music publishers can be obtained from

The Harry Fox Agency
205 East 42nd Street
New York, New York 10017
212-370-5330
http://www.nmpa.org/hfa.html

<strong>Music Publisher</strong>
A music publisher works with songwriters to market and promote songs, resulting in exposure of songs to the public and generating income. Music publishers “pitch” songs to record labels, movie and television producers and others who use music, then license the right to use the song and collect fees for the usage. Those fees are then split with the songwriter.

For more info visit <a href=”http://www.markallanwolfe.com”>www.markallanwolfe.com
</a>
<strong>Per Program License</strong>
A “per program” license is similar to the blanket license in that it authorizes a radio or television broadcaster to use all the works in the ASCAP repertory. However, the license is designed to cover use of ASCAP music in a specific radio or television programs, requiring that the user keep track of all music used. Also, the user must be certain to obtain rights for all the music used in programs not covered by the license.
<strong>
Public Performance or Performance Rights</strong>
A public performance is one that occurs “in a place open to the public or at any place where a substantial number of persons outside of a normal circle of a family and its social acquaintances is gathered.” A public performance also occurs when the performance is transmitted by means of any device or process (for example, via broadcast, telephone wire, or other means) to the public. In order to perform a copyrighted work publicly, the user must obtain performance rights from the copyright owner or his representative.

<strong>Record Label</strong>
A record label (or record company) makes, distributes and markets sound recordings (CD’s, tapes, etc.) Record labels obtain from music publishers the right to record and distribute songs and in turn pay license fees for the recordings.

<strong>Retransmission</strong>
A transmission of a performance is one that is sent by any device or process (for example, radio, TV, cable, satellite, telephone) and received in a different place. A retransmission is a further transmission of that performance to yet another place.

<strong>Sound Recording</strong>
A sound recording refers to the copyright in a recording as distinguished from the copyright in a song. The copyright in the song encompasses the words and music and is owned by the songwriter or music publisher. The sound recording is the result of recording music, words or other sounds onto a tape, record, CD, etc. The copyright encompasses what you hear: the artist singing, the musicians playing, the entire production). The sound recording copyright is owned by the record label. The copyright in the musical work itself is owned by the music publisher, which grants the record label a “mechanical” license to record and distribute the song as part of the record.

<strong>Synchronization or “Synch” Rights</strong>
A synchronization or “synch” right involves the use of a recording of musical work in audio-visual form: for example as part of a motion picture, television program, commercial announcement, music video or other videotape. Often, the music is “synchronized” or recorded in timed relation with the visual images. Synchronization rights are licensed by the music publisher to the producer of the movie or program.

Mark Allan Wolfe

www.wolfiesmusicpublishing.com

Making the music

So what can be said about this subject that has not been said already? I am sitting here staring at a blank page and rocking out to my Steely Dan collection listening to some oldies but goodies like, “Bad Sneakers” “Kid Charlemange”, and “AJA”. These songs being some of the best recorded by some of the best in the industry. The album AJA for instance garnering many awards for engineering and going down as an album that is one of the greatest in history.

On April 6, 2011, the album was deemed by the Library of Congress to be “culturally, historically, or aesthetically important” and added to the United States National Recording Registry for the year 2010.

In July 1978, the album won the Grammy Award for Best Engineered Non-Classical Recording. In 2003, the album was ranked number 145 on Rolling Stones “The 500 Greatest Albums of All Time” list.

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I know there are other albums or artist out there that are just as good if not better than my example but you get the picture. I am sitting here listening and asking myself , “What make a great song”, “Why are these songs so great?” Is it there musicianship, the musician, the engineer? the right songs at the right time, the right studio? or all of the above? I think it is the last ALL OF THE ABOVE.

I say that because you can as a musician and composer I make a lot of songs and record a lot of music for not only my self but for and of other people. I write songs as a song writer work with them, I work with other musicians and record them and all plus engineer the stuff I record both for them and myself. I know  a little about what goes into it.

I am not a super man being able to write or record hits ALL the time sometimes we suffer from writers block but l wanted to share with you a few ideas and thoughts in your journey and also remind you of some simple truths.

When your done reading why not take a moment to visit www.wolfiesmusicpublishing.com

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Music to sync blog

1) Study your craft You need to stay on top of things and learn as much as you can about those subjects you want to excel in. This stuff does not come to you thru osmosis :0) You cannot just wish it to happen you need to work at it like anything else.

Find places online which teach it, write about, listen to stuff about it. When you find yourself being able to teach someone something you have learned you can rest in your heart that you are on the way to getting to where you want to be. The same can be said if you find yourself using those tools in your projects that you have read about or listened to in DVD or CD form.

2) HUMBLE YOURSELF When you think you know it all you are far from beginning I dare say you have not even enter kindergarten. I know that this will sound strange and forgein to a lot of you many will be offended. This is not what I am trying to do but I am trying to get you to hear what I am saying.

How many of us have heard or known of people walking into a flight instructor school saying, “I know all there is to know about flying, I can do it no problem” I never have heard of anyone saying this and if they did I would NOT want to fly with them. The same can be said of us when we fail to humble ourselves and walk into a studio situation or start to work on something and declare in our hearts or to those around us that we know ALL there is to know about it?

What happens is that everyone in the room knows you suck and no one wants to record with you. I know I was using extreme ideas but you get the picture, we need to recognise that we need help and are not afraid to ask for it. When you ask questions you show yourself to be wise and wanting to learn. When you make a mistake or admit you wwere wrong, you path the way to great success.

3) PRACTICE Finally something we all like to do, is practice or perfect our craft. To go over it over and over again until we get it in our sleep. TO the point where we do not even need to second guess yourself you just know it it becomes like breathing. even though it might hurt your fingers, mind or cause your eyes to blur from staring at the screen but if you take time out of every day to practice you will become GREAT. You will become successful if you practice these tenants to becoming the best.

I do hope you come by again and share your thoughts with me and let me know what you think. I am still endeavoring to put into practice these simple truths I just shared with you. I am learning to become nothing so I can become the best in everything. That is a mystery yet to be seen but I am enjoying myself along the way, making some great friends and hopefully some great music along the way.

Mark Allan Wolfe
www.markallanwolfe.com

www.wolfiesmusicpublishing.com

mark@markallanwolfe.com

Mark Allan Wolfe holding PRS

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